George Michael, a pop superstar who achieved global fame and fortune, may not receive the widespread acknowledgement he once did, according to journalist and historian Sathnam Sanghera. In his new biographical study, "Tonight The Music Seems So Loud," Sanghera explores the reasons behind the perceived decline in Michael's public stock, framing the singer's life as a modern Greek tragedy.
Sanghera highlights Michael's deeply contradictory nature. At 21, Michael boldly declared he had achieved more than any performer his age, yet he was also described as cripplingly insecure. He guarded his privacy about his personal life but later became more open after being outed as gay in 1998, following an arrest for propositioning an undercover police officer. His public persona often involved a blend of seriousness and self-deprecating humor, as evidenced by invitations to his birthday parties and the title of his best-of album, "Ladies & Gentlemen."
The influence of Michael's immigrant background is also a significant theme. His father, Kyriacos Panayiotou, who emigrated from Cyprus in the 1950s, inspired his son's ambitious drive but also reportedly held homophobic views, which Sanghera suggests would have been difficult for young Michael.
The book examines the social climate of 1980s Britain, when anti-gay sentiment surged. Homosexuality was decriminalized in England and Wales in 1967, but by 1987, 63 percent of people surveyed believed it was wrong, a stark contrast to earlier decades. Michael rose to fame as part of the duo Wham! alongside Andrew Ridgeley during this period.
While Sanghera's focus is on Michael's life and personality, the book is less assured in its assessment of the music itself. The review notes that Michael's most joyful songs, from "Wake Me Up Before You Go-Go" to "Freedom! '90," are sometimes overshadowed by a more somber tone in the biographical analysis.
The narrative suggests that Michael's story is one of achieving immense success and then finding that it was not what he truly desired. His early ambition for fame, fueled by raw talent and perfectionism, eventually led to a desire to disappear from the public eye. This shift is evidenced by his reduced presence on album covers and his decision not to appear in the video for "Freedom! '90," opting instead for supermodels to represent him.
Many aspects of Michael's later life are presented as potential acts of self-sabotage. His controlling tendencies reportedly led to demanding edits of concert footage, and his legal battles with his record company, Sony, were a significant undertaking. Furthermore, his documented dependence on drugs and alcohol contributed to a series of minor convictions and ultimately, his death in 2016.
Sanghera likens fame to J.R.R. Tolkien's One Ring, suggesting it disorients and consumes those who possess or are near it. The biography implies that George Michael spent decades "dialing down" his own fame, contributing to the sense that his music, though once overwhelmingly loud, now resonates differently.